Eleven PDX March 2013

ELEVEN PDX MAGAZINEELEVEN PDX MAGAZINEISSUE NO. 10 VOLUME 2

contents

Columns

new musiC

THe usuAl

3 Letter from the Editor

3 Staff Credits

National Scene 15ELEVEN talks with Portland favorites

sTRFKR about walking the Miracle Mile, Paul

McCartney, and a little philosophy.

liVe musiC

9 MusicalendarAn encompassing overview of concerts in

PDX for the upcoming month. But that’s

not all - the Musicalendar is complete with

a venue map to help get you around town.

11 Previews

14 Reviewssoundgarden

loCAl

Film

FeATuRes

PDX Paragons 23wl

old Age

Watch Me Now 19editorial: Game of Thrones, Yeah!

instant Queue Review

Visual Arts 21Portland artist eATCHo

7 Short List

7 Album ReviewsYouth lagoonwavvesThe Cave singersBlack Rebel motorcycle Club

more online at elevenpdx.com

5 Aural FixlemoloDjango Django

Neighborhood of the Month 24se Clinton

The Local Biz 25ELEVEN’s favorite local business directory

3 | ELEVEN PORTLAND | www.elevenpdx.comPRINTED ON 100% RECYCLED PAPER

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GeneRAlinQuiRies

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EDITOR IN CHIEFRyan DornfeldCREATIVE DIRECTOR Dustin Mills

P.O. Box 16488 Portland, OR. 97292

[email protected]

[email protected]

www.elevenpdx.comtwitter.com/elevenpdxfacebook.com/elevenmagpdx

Ryan DornfeldDustin Mills

Kim [email protected]

Kev, Jim, Steph, Matt, Tali, Vargas fam, EastBurn fam, M.W., Tixie fam, Meeses, PLA, Vince, Skot and Karla, Phil and Corrie, PH+BG, Will+Opie, Treefort, our partners, families and friends!The Redcoats

Katherine Benedict

[email protected]

COPY EDITORCharles TrowbridgeSENIOR WRITERWendy WorzallaFILM SECTIONBex SilverVISUAL ARTSMercy McNab

Tyler Kohlhoff

Dustin Mills

Aaron Colter, Brandy Crowe, Billy Dye, Gabriel Granach, Kelly Kovl, Rachel Milbauer, Aaron Mills, Morgan Troper, Dane Johnson

Justin Cate, Michael Herman,Amy Kettenburg, Aa Mills

HELLO PORTLAND!It’s never easy.Publishing a community music magazine, running an

independent business while working other jobs, maintaining some degree of a social life and still finding time for relaxation and entertainment can be a truly daunting task.

For most, life isn’t easy, and you know what? That’s probably for the best. It’s how we deal with life and it’s curveballs that make us, us.

For me, growing up in the footsteps of four intelligent and successful older siblings only pushed the bar higher. I was teased relentlessly. Also, I was tiny. My fifth grade baseball card stats read, “4’7”, 60 lbs.” and that was probably generous. I liked video games and puppies and bright colors and soft things. I worked hard in school... sometimes, when I was interested in the subject matter. However, when I had something to prove, watch out! I was going to overcome the obstacle, no matter what. I thrived on competition.

I’m from a generation that worshipped the greatest basketball player ever, Michael Jordan, a man who last month turned fifty. He was a ruthless combatant who willed himself to win, against any odds.

What it took me about thirty years to figure it out is that the sense of satisfaction, of appreciating and loving yourself, comes most when you’ve gone through trial and tribulation. The more imposing and dreadful the challenge, the sweeter the taste of success.

That baseball card from my youth also read, “.533” batting average. The best in the league, but still a very minor example of the breadth of life’s tests. If it’s not a challenge, it’s not worth doing. »

- Ryan Dornfeld, Editor in Chief

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1

columns

LEMOLO

(Every month, our expert team seeks out the newest and most exciting musicians in the world. After searching high and low, we’re proud to

bring you the result of our concentrated efforts.)

AURAL FIX

Lemolo feels like floating, spinning slowly in a kayak being pushed by a warm wind above a deep stream with virtually no current. This could be due to the duo–Meagan Grandall and Kendra Cox–meeting each other as kayak instructors on the waters near Lemolo Shore Drive. Not sure if they’ve ever explicitly said, but a good guess would be the name of the band shares similar origins.

Since being named by Google Play as a “Best Unsigned Artist of 2012,” their most recent album, The Kaleidoscope, has frequented the best-sellers section of record stores. The album has the dream-pop pacing emulating Beach House, the layering of piano and guitar similar to The XX and possesses the vocals of Sharon Van Etten. Together, it is music that pulls one inside the spaces between gently firing neurons.

This sounds mellow, but their live performances have been rumored to be anything but boring. They’ve been described as high-energy and extremely captivating. Their chemistry is extremely seductive and a rare thing to witness. Something the reader will have the opportunity to experience very soon at Mississippi Studios: two beautiful ladies with a beautiful connection making beautiful music. » - Billy Dye

B


DJANGO DJANGO

columns

London-based band Django Django has an immediate curb appeal. Their music is catchy in a harmonic, Beach Boys sort of way, while simultaneously referencing the ‘80s with synthy beats and edgy guitar riffs. Throw in some tribal chanting and you’ve got yourself an unswerving pop band that has a distinct and addictive sound. Each of the tracks on their debut album demands their own attention and are worth the time it will take to digest their layers of influences and intricacies.

Immediately opening the record is “Hail Bop,” a triumphant, electronic track that veers into the psychedelic with whirling sound effects and echoed vocals. The hypnotic, mantra-of-a chorus gives you a taste of how the album is going to unfold, but is not even close to an all-encompassing flavor.

David Maclean’s vocals strongly reference the harmony-happy Brian Wilson and the country whine of Curt Kirkwood, combined with a personal folky style. Vincent Neff (singer/guitarist), Jimmy Dixon (bassist), and Tommy Grace

(synth) draw parallels to Kraftwerk in their music, writing similar innovative elements into their compositions. The result is a collection of songs that are exciting to become familiar with. Django Django’s sound appropriates their specialized style from a vast history of pop and electronic musicians.

One of the shorter and most compelling songs on the album is “Hand of Man,” which is a slower groove. The stripped down sound resonates like a trippy lullaby sung between friends around a campfire. At just two-and-a-half minutes long, you’ll probably find yourself repeating that track.

Maybe their secret was taking two years to put out the album, releasing a few singles along the way until the record dropped in early 2012. If so, not rushing production completely strengthened their creative process and open-mindedness in songwriting. The self-titled LP delivers a refreshing taste of electronic-pop, and brings breathing room to a heavily saturated genre. »

- Rachel Milbauer

“HAil Bop”

This opening track starts off with space-ship-meets-spaghetti-western sound effects

before sliding effortlessly into a surf-rock guitar riff. It’s a great introduction to a

pleasantly surprising album.

“liFe’s A BeACH” This surf-chant rock anthem is a great

example of how Django Django spans and melds genres within one song. If the catchy guitar riff doesn’t get you, the sunny, swift

verse will.

A

2Photo by Pavla Kopecna

QUICK TRACKS

Catch Django Django live this month March 20 @ Doug Fir


THIS MONTH’S BEST

R REISSUE

LOCAL RELEASE

short list

reviews

L

L

Buy it Steal it Toss it

NEWMUSIC

Youth lagoonWondrous BughouseFat Possum

When Youth Lagoon’s Trevor Powers came out of the woodwork in late 2011 with The Year Of Hibernation the world was widely receptive to his seriously cerebral, noise pop sound. The record was intense and personal, almost like reading an ancient journal or going through old photos. His sophomore album, Wondrous

Nathan Williams underwent a pretty significant metamorphosis in between Wavves’ second self-titled record and the group’s 2010 breakout King of the Beach. Or, at the very least, Williams went from being just another over-privileged, SoCal stoner with a 4-track to an over-privileged SoCal stoner with a 4-track whose scrappy pop songs singularly embody contemporary hipster culture and its accompanying ethos. There was something inexplicably profound (and perhaps even generation-defining) about the way Williams sang “My own friends

Bughouse, is due out March 5 on Fat Possum Records. This title alone suggests some of the quiet, psychedelic sounds and echoey vocals that defined his first release, but Powers succeeds in bringing a new energy to his work.

One of the premiered tracks, “Dropla,” exemplifies his evolution in creative tastes and tendencies. While the track is still airy and light at the start, it jumps in with declarative vocals and stronger drum tracks. I was worried that Wondrous Bughouse wouldn’t take any risks and instead would live in its bedroom-project aesthetic, but the album successfully moves forward with intention and style. The identifiable, whispery sound of Powers’ principle record is still undeniably present, but it confidently developed. Thematically, his songs revolve around issues of mortality and spirituality, and carry out a strong, life-like follow-up. Wondrous Bughouse is less a snapshot of an introverted teen, and more a skillfully crafted story of maturation. » - Rachel Milbauer

hate my guts / So what, who gives a fuck?” in “Green Eyes” off King. Technically, this isn’t nihilism–Williams was probably just too high to care.

The differences between King of the Beach and Wavves’ new LP, Afraid of Heights, aren’t nearly as dramatic or noteworthy, but that doesn’t mean this new record is merely a retread of previous efforts. Sonically and musically, there’s noticeable improvement here –the coulda-sworn-it-was-a-Blue Album-outtake “Demon to Lean On” is technically the best song Williams has written to date, and it’s certainly better than anything Rivers Cuomo is capable of penning now. Even songs like kick-off “Sail to the Sun” and “Lunge Forward,” which fundamentally sound near-identical to “King of the Beach” and “Super Soaker,” respectively, are more subtle and sophisticated than their counterparts. “Everything Is My Fault” is endearing only because its author has no idea how lush his life really is, and the similarly faux-introspective closer “I Can’t Dream” mirrors the listlessness that defines the hipster lifestyle. All in all, Wavves’ pop sensibilities have never been stronger. And sure, the lyrics are still pretty stupid, but who’s complaining? Nobody’s paying Williams to think. »

- Morgan Troper

facebook.com/elevenmagpdx@elevenpdx

They might Be Giants

NanobotsDavid Bowie

The Next Daylow

The Invisible Waypheasant

Gravel BeachFol Chen

The False AlarmsJosh Rouse

The Happiness WaltzJustin Timberlake

The 20/20 ExperienceThe Black Crows

Wishes For TimeDepeche mode

Delta Machinesmoke Fairies

Blood SpeaksThe strokes

Comedown Machine

wavvesAfraid of HeightsMom + Pop


The Cave singersNaomiJagjaguwar

Black Rebel motorcycle ClubSpecter at the FeastAbstract Dragon/Vagrant

The Black Rebel Motorcycle Club made a name for themselves pumping out the kind of gritty, quality garage rock that seems to define the transition between the alt-rock of the ‘90s and the indie stylings of the mid ‘00s. Combining elements of classic rock, fuzzy blues and underlying, subtle hat-tips to groups like the Velvet Underground, the BRMC has managed to continue

Up in Seattle, The Cave Singers are excited to be embarking on tour for their new album, Naomi, their fourth (and second with label Jagjaguwar.) For the first time since their formation in 2007, the trio recorded as a quartet with fellow friend and bass/flute player,

to put out unique tracks and albums on a semi-consistent basis.

Specter at the Feast, slotted for release in mid-March, is a slight departure from some of the previous albums, but not by much. It’s still pretty clear who you’re listening to. If anything, Specter comes out as “polished,” which may not be an adjective often used when talking about BRMC. In fact, one of their strengths has been the ability to walk that fine line between sounding “raw, yet tight” and “produced.” The album opens and closes with muted individual tones on “Fire Walker” and “Lose Yourself,” signaling some sort of full-circle concept, and it is this very element of completion – finality – that leaves a slightly different taste in the mouth compared to other BRMC albums.

Interestingly, one of the stand-out tracks from the album is a cover. The Call’s “Let the Day Begin” is done justice by BRMC: a fuzzy guitar riff intro and rumbling floor toms give BRMC’s version more of an edge

Morgan Henderson (Fleet Foxes). The noticeable extra “oomf” his instruments provide makes this decision a natural choice for The Cave Singers tunage, and I hope to hear him on the next album, too.

In contrast to 2011’s No Witch, this album is definitely a little bit more “pro” according to leader Pete Quirk. This has much to do with the producing skills of Phil Ek (Built to Spill, The Dodos). His professional touch upgrades the 12 songs to a new level for the group, setting their bar the highest it’s been thus far. It also has to do with Quirk et al. taking extra care on the extraneous details like finding the perfect cover art (found in Clayton Merrell’s collection) and choosing an album title that personifies the essence of their hard work.

The first song on Naomi, “Canopy,” is perfectly positioned to reel you in for the next forty-five

than The Call’s original song, and it’s all the better for it. A primal element surfaces early this version – a barely-controlled drive that threatens to erupt at any moment. It’s amazing how menacing that opening riff sounds coming from the BRMC than the call.

“Lullaby” is a return to those excellent ballads the Club manages to produce each time around. For a band that built its reputation around driving rock joints, their ballads are always a lesson in push-and-pull restraint, and “Lullaby” is no different. Subdued may not be the most accurate term, but the song certainly emphasizes a nice build in the guitar parts and enough liquid in the vocals to contrast nicely with the instrumental filling around it.

The BRMC are aging nicely. Specter at the Feast isn’t their best work, but it’s definitely not their worst, and as long as this polish can maintain a balance with the grit, they’re going to be fine. »

- Charles Trowbridge

minutes. Its sing-along, get-stuck-in-your-head chorus perfectly embodies the bucolic folk rock made unique by Quirk’s voice. After that intro song, though, my attention waned slightly as I became less enamored with the lyrics, but the unmistakable northwest, outdoorsy ambience took me right back to Girl Scout camp: walking around in coniferous forests with the sun occasionally hitting my face in between the tall trees, feeling connected to the nature around me.

Listen closely and you might be able to catch Derek Fudesco’s guitar and Marty Lund’s drums adding some punk elements. Altogether, the band does a commendable job of showing off what they are capable of. Pull this album back out when you’re cruising around this summer. »

- Kelly Kovl

reviews


live

Want to have your show listed?E-mail [email protected]

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1Alabama Shakes | Michael KiwanukaMarch Fourth Marching BandBig Head Todd and the MonstersFun. Family of the YearJosh Ritter & The Royal City BandGeorge Clinton & Parliament FunkadelicRebelution | J Boog | Hot RainCult Records Tour w/ The VirginsAnthrax | Exodus | High On Fire | Holy GrailPhoenix | Max DeMarco

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Caspian | Native | This Patch of SkyThe Maldives | Richard BucknerLeaves Russell | No Kind of Rider | Josh & MerEfterklang | NightlandsHalo Refuser | Sixis | Linda BrownHillstompDjango Django | Night MovesChelsea Light MovingVeronica Falls | Brilliant Colors | Golden GrrlsLianne La Havas | Jamie N CommonsThe Last Bison | Kris OrlowskiPheasant | Summer Cannibals | Fanno CreekJamie Lidell | Empress Of | Ludwig Persik

Cotton Jones | Mission SpotlightNathaniel Talbot Quartet | SwanseaBen Miller Band | Ed and the Red RedsJoe Ely Duo | Joe PugThe Blind Boys of AlabamaViolet Isle | Snowblind Traveler | Just LionsHarlowe & the Great North WoodsOld Age | Fanno Creek | The We Shared MilkBoat | Aqueduct | Shelly ShortGenders | Still Caves | Kim BaxterMagic Fades | Bruxa | InteriorsThe Woolen MenLemolo | Sara Jackson-Holman | The Cabin ProjectDucktails | Widowspeak | Mark McGuireDoldrums | Sean Nicholas Savage | StrategyFol Chen | Royal CanoeKing Dude1939 Ensemble | Paper/Upper/Cuts | GullsCharlie ParrFlume

Why?G. Love & Special SauceEmancipatorPickwickThe Joy FormidableMatt CostaThe English Beat

Hollywood Undead | All Hail The YetiFlogging Molly | Mariachi El Bronx | DonctsImagine DragonsThe SpecialsMajor Lazer Angel Haze | LuniceFlux PavilionLotus | VibesquadClutch | Orange Goblin | Scorpion Child

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Eye Candy VJ’s (every Monday)A Happy Death | Child Children | Mysterious Creature

Incredible Yacht Control | Fen Wik RenSELF Group Presents

Speaker Minds | Neighbors | Bad TenantsShowdeer: Liquid Light | Rococode | Bike Thief

The Phoenix Variety RevueStantonova Presents

EggplantNortheast Northwest

Babby Ketten KaraokeBear & Moose | Mount Mazama | Outer Space Heaters

Lil’ Ass Boombox FestivalSprinkles | Ethereal & The Queer Show | Fang Moon

Poena Suddarth | The Raining FrogsUltra Goat

Luck-One | BigMo | J Burns | DJ EpsBreakneck Betties Party

Swing Dance FestivalShimmy ! Shake! Shindig!

Frank Sinatra and Harry James TributeRaw Artists

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Boats | Houndstooth | Great WildernessParenthetical Girls | PWRHAUS | Stay Calm

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Gold PandaFoxygen | Pure X

Bad Weather California | The Blank Tapes | Sun Angle

Animal Eyes | TalkativeThanks

Billygoat | PWRHAUSNew Move | Cheers Elephant

Wooden Indian Burial Ground | Genders

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Eight Bells | The Body | Helen Money | UsneaSaid The Whale | Morning RitualAntique Scream | Machine | Sharks from MarsSoutherlyYung Rob | The Resistance | Kid Huss | Young KirbHalf Way ThereAri Chersky | Nick Sweet Trio | KozyolThollem ElectricKitty PrydeOff With Their Heads | Roll The Tanks | Absent MindsDeathfixLake of Blood | Barghest | Chasma | DrudenSchematic | Asker | Altadore

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As far as industrial rock goes, KMFDM should be mentioned as the group responsible for accessibility. The genre has enough diehards and detractors on either side, but there’s no denying that KMFDM are one of the more successful groups out there. They’ve got some heavy-ass beats and some seriously catchy riffs that set them apart from many of the other industrial rock groups. The vocals are never overwhelming, for those who don’t appreciate yell-singing, and for those who do, they’re intense enough to get the job done. Better bring your moshing sneakers. » - Charles Trowbridge

WITH NIGHTLANDSWITH THE MOWGLI’S

WITH AQUEDUCT, SHELLEY SHORT

1. KMFDMmarch 8 | star theater

Danish boys living in Berlin, the band’s name means “remembrance” or “reverberation,” which are totally separate things, but that sort of ambiguity adds to the band’s masturbatory tendency that’s so pervasive in European queer-pop, like luminaries Sigur Rós. With hooks like Coldplay that even the most skeptical music aficionado has to appreciate, a lead voice on par with Lens Lekman, and the subtle sensibility of the Beta Band, Efterklang radiates a sort of Arcade Fire vibe that manages to be more D.I.Y. than the Canadian superstars. Plus if their entirely-too-long short film “An Island” is any indication, Efterklang can pull off a dynamic performance live under a variety of scenarios. » - Aaron Colter

These guys are the biggest Portland band from Los Angeles. By that I mean, they aren’t from Portland at all but it seems they are here all the time which leads me to believe they love Portland and we love them. So I’ll claim them now on behalf of the city, and they’ll no longer have the burden of saying they’re from L.A. You’re welcome. If you’ve missed their shows in the past or you’ve somehow missed them on the radio, their sound is described by the co-creator Sam Martin as having “elements of pop, rock, indie, dance, and even a little hip hop.” » - Billy Dye

Two ex-Bellingham musicians—Dan Lowinger and Jenny Don’t—came together in 2009 to form a dark and soulful blend of blues, punk and surf. The pair combined their talents with Sam Henry (drummer for The Wipers) and Dave Minick (bassist for Napalm Beach) and pulsate with raw energy that you come to expect from the Portland scene. Jenny Don’t (think a young and ambitious Siouxsie Sioux) has a speak-sing style that erupts for the catchy, but not poppy, chorus. The song structures are sonically solid—just like this band. »

- Wendy Worzalla

The first single from BOAT’s latest, Pretend to be Brave, begins with “It rains so much, you feel like you live in an aquarium.” BOAT has steady, Simon Gallup-tinged bass and American alternative class. They rant about nothing, and everything –just dealing with everyday BS in an honest, disheveled manner. Between the humor, the super rock guitar, winding key melodies and unexpected change-ups with mysterious tracks like “Sharpshooters,” BOAT may help you to shrug your shoulders and keep effin’ smiling, no matter how much you get rained on. » - Brandy Crowe

5. BOAT

march 16 | mississippi studios

2. YOUNGBLOOD HAWKE

march 10 | hawthorne theatre

march 15 | the Know

3. EFTERKLANG

march 13 | doug Fir

4. DON’TWITH SUMMER CANNIBALS, MONOPLANE

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mARCH

The Ready Set | Outasight | Plug In Stereo | GoldhouseThe Hush Sound | The Last Royals | Sydney Wayser

Marduk | Moonspell | Inquisition | The ForeshadowingBlack ‘N Blue | Sonicles | Sonic Temple | Labansky

Frightened Rabbit | The Twilight SadHeadbang For The Highway

Crazy Train | Mercury Rising | Highway StarMurs | Prof | Fashawn | Black Cloud Music | Saint WarheadNile | Ceremonial Castings | World of Lies | Heathen Shrine

Andrew McMahon | Barcelona | Erland WandbergEnter Shikari | Achitects | Heartist | Crossfaith

Roger Clyne & The PeacemakersNemesis | Proven | Separation of Sanity | Lidless Eye

Young Turks | Clarity | SlothsBehead The Prophet | The Need | Disemballerina

Secnd Best | Angry Lions | Faithless SaintsThe Good Sons | Hellokopter | Pink Slip

Lost WeekendChris Webby

Stunt Poets | Blue SkilletThomas Mapfumo & Blacks Unlimited | Loveness Wesa

White Water Ramble | The Student LoanSonic Temple | Iceland | Western Family

Science! | The Junebugs | The Ruby PinesMidnight Spin

The Stereo Fidelics

HAwTHoRne THeATRe

(ConTinueD) slABTown

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preViews

Thurston Moore is arguably rock’s first–and worst–elitist. His essays are particularly noxious, and it’s unfortunate that a snob this big has become the template for young, aspiring indie rockers. On the other hand, as a musician, he’s often brilliant. He manages to make things that musically make no sense sound normal or even “pretty.” Moore’s new vehicle, Chelsea Light Moving, is by no means groundbreaking, but it’s a more-than-welcome continuation of his previous efforts. The pre-release single, “Groovy & Linda,” is quintessential TM. »

- Morgan Troper

Like a dark, tripped-out soundtrack to an 8-bit video game rated Mature, Fang Moon’s Harlem U.F.O. Sighting is a cooly detached album of jams just catchy enough to bob your head to as you try to decipher song titles like “Lamb Slaughter.” Like a lot of electronic synth-based new wave groups, the band’s live shows are more like listening events than dance parties. Bring your shoe-gazing glasses and sliest grin; because although you might not be able to grind up on the floor to these tunes, you’ll likely to catch someone willing to fuck. But, don’t be surprised when they never call you back. » - Aaron Colter

WITH ANIMAL EYES, ASH REITER, PONY VILLAGE, COUCHES, TALKATIVE

WITH ANGEL HAZE, LUNICE

WITH SPRINKLES, ETHEREAL AND THE QUEER SHOW6. CHELSEA LIGHT MOVING 7. FANG MOONmarch 22 | doug Fir

MARCH 23 | KELLY’S OLYMPIAN

Matt Costa is a singer-songwriter whose music could fit nicely into any of the common descriptions for such musicians. The only difference is, Costa really isn’t a run-of-the-mill folky dude. His earnest voice always compliments his instrumentals no matter how stripped down they may be. He offers a nice mix between the solo guitar pieces and full band ensembles. The extra sounds are nice for a change up, but Costa is really at his best with a mic, a guitar, and roomful of rapt listeners. » - Charles Trowbridge

If you can’t make the seven hour trip to Boise, Idaho for the second annual indie Treefort Music Fest, and/or can’t afford the $100 price tag (or even if you can) join Animal Eyes, Ash Reiter, Pony Village, Couches and Talkative for a three dollar afterparty. Presented by 20 Sided Records on the Monday after the fest, this will keep the feeling going or provide an evening of grade A sound for your not nearly tired ears. Paired with Bunk’s good food and drink, it will be the next best thing to the real deal. »

- Kelly Kovl

DJ Diplo has collaborated with many artists since founding Major Lazer in 2009, including Santigold, Thom Yorke, Snoop Dogg (now Snoop Lion), and Amber Coffman (Dirty Projectors). His jacked up, dub step, “future Kingston,” electronic sound includes elaborate performances and light shows. Hype women (and men) are as much a part of the tour as he is. He makes some sexy, dirty music, and it’s one big breath of air from all the indie pop and folk rock that we’ve been filling our heads with lately. If you’re ready for a rowdy crowd and lots of people shaking their asses harder than you’ve ever really imagined, I suggest you find some drugs and head downtown. » - Rachel Milbauer

Phoenix’s 2009 breakout Wolfgang Amadeus Phoenix was a flight of French fancy that drifts high and low with rhythmic guitar gaits and the harmonics of Thomas Mar’s vocals. The latest tour, on the way to headlining Coachella, will likely be a brilliant display of dance valor and may divulge tracks such as “Bourgeois” and “Oblique City” from the recently announced 5th album Bankrupt! due out in April. The art for the album is simple and peachy, and rumored to be richer in synths and glistening flashes from an experimental angle. » - Brandy Crowe

11. PHOENIXmarch 30 | crYstal ballroom

8. TREEFORT AFTER-PARTY

march 25 | bunK bar

march 27 | roseland theater

9. MATT COSTAmarch 26 | wonder ballroom

10. MAJOR LAZER

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Low Hum | Gabe Mintz | Avians AlightDaniel Bachman | Marisa Anderson

HasteFallopian Tunes Showcase

Golden Retriever | Chuck Johnson | Plankton Wat | Danny Paul GrodyJ. Colin | John Krausbauer | Brumes

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Scott Law Electric Band | Lewi Longmire | Left Coast RoastersBrad Parsons Band | Jack Dwyer and the Bad Liars

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live

reViews

SOUNDGARDENFebruarY 6 | arlene schnitZer concert hall

Grunge is Dad Rock, now. Just accept it. It’s not the end of music, and whether you’re annoyed by Skrillex or terrified of Odd Future, the fact that everyone born after 1990 can drive a car, vote, die in war, and legally drink in any bar in the country doesn’t mean the apathetic sludge pop created during the Gen-X heyday is any less great. Similarly, seeing Soundgarden in 2013 must be what it was like to see The Rolling Stones or Led Zeppelin in around 1981–cock rock turned daddy dick for an area crowd of fans willing to pay top dollar to pump their fist and brag to their friends that they were there, man.

Before launching into the parody

graced Portland with a ukelele in hand, and the drifter everyman’s poetry of Nirvana, who’s drummer rocks out with a former Beatle, it’s no surprise to see Soundgarden embark on an extended reunion tour as Cornell plays opener for Obama’s inauguration festivities.

Though the band is less energetic than the powerhouse entertainment of Bruce Springstein, they are succinct musicians with a heavy tone and a professional skill set more bands of our era could stand to replicate. Because, while the youthful passion is diminished, along with Cornell’s ability to hit all the staggering notes in his repertoire, I’d rather see Soundgarden almost any day of the week over some bullshit like Mumford & Sons. »

- Aaron Colter

song “Big Dumb Sex,” Chris Cornell told the crowd that the band had written the tune as a joke all those years ago as their brand of music started attracting more meatheads than skinny guys with dark circles under their eyes. It was funny then, but it didn’t play well to the crowd of mostly men over 40, many of whom wore baseball caps (because they’re fans of actual baseball), and couldn’t stand through the entire two-and-a-half hour set. And, all of whom paid over $50 a pop to see one of their favorite acts dangle on the mortal coil before drying into the fucking embarrassing husk of a band Black Sabbath trots out for outdoor music festivals.

Always uncomfortably between the sensitive frat-boy undertones of Pearl Jam, who’s lead singer last

Photo by Rachel Milbauer

Photo by Tyler Kohlhoff


featuresnational scene

THERE IS IRONY IN THE NAME. SINCE FORMING IN PORTLAND IN 2007, THE PORTLAND BASED BAND ISN’T ALL THAT OBSESSED WITH BEING FAMOUS.

Starfucker, or printer friendly STRFKR, can be taken as play with glittering Hollywood excess or cosmic music for glamorous math club kids. During live performances, their new “lite-bright” stage is dressed up in pink and teal tribal patterns, where they provide twinkling indie-pop inside rippling, mystical arrangements. The members, all seemingly multi-instrumentalists, trade places. The attitude of the green-jeaned keyboardist delights with futuristic spires and whirls, while cymbals tap and lo-fi vocals stretch. There is innocence and fun in the beats, and themes that have a laugh on conspiracy theories and nod to the philosophy of subordinate wiggles. It is undeniably catchy, despite the bleep-worthy moniker.

After re-releasing 2009’s Jupiter (which brought Starfucker to light with a popular pharmacy commercial) and extensive touring, the band united in the Spring of 2012 to create a third album, Miracle Mile, in an Astorian beach house. On the 15 short and sweet tracks of the double EP, bouncy dance hooks and funky bass are contrasted with shrouded lyrics, such as the flashing white light of “Last Words,” which may confront death and loneliness with hand claps...in a disco. The psychedelia of the lyrics can be hard to read by ear sometimes, but they come through on the ‘angel and astronaut’ track “Atlantis.” “Say to You” is reminiscent of vintage albums, it is something like an ascent into space, or when snowflakes look like stars at warp speed.

On a rare snowy morning in Portland, ELEVEN caught up with the front-man of Starfucker, Josh Hodges, as he was preparing for tour.

ELEVEN: So what is the controversy with the name? Is it like that Rolling Stones song kind of “Starfucker,” or perhaps how galaxies multiply?

Josh Hodges: Well (laughs), yeah, there is all kinds of meaning to take from it, and that’s fine.

11: On some media outlets, such as XBOX Music, your music is inaccessible unless it is typed under the censored text STRFKR. Is this a happy duality that gives your band a little more space to be creative?

JH: It did come from sort of wanting to have an intention of not trying to be a successful band. There was a time before where I got kind of fed up with this feeling that it’s a game, people just going for being successful, and that wasn’t what I was doing. Starfucker basically was what I was already doing in my basement for fun.

The name actually came from this weird girl that was on tour when I was a hired guitarist in another band. These

people were actually bragging about fucking people, like “I am such a starfucker,” so at the time the whole thing was kind of a joke, like, “fuck the industry.”

11: You did go by a different name for a little while, Pyramidd. Were you guys asked to do that in order to be marketed better?

JH: Yeah, I mean, we had a manager... for a minute. It was a strange time, people were trying to get us signed, and we gave in to trying the new name.

11: But you shook that off and went back to Starfucker? JH: Now we are more skeptical of people.

11: Well, I like Starfucker better.JH: It’s kind of like a joke too.

11: Who are some of your influences? JH: I have been listening to this certain Paul McCartney

album a lot; it was some work he did just messing with this 8-track recorder. It doesn’t sound anything like Paul McCartney; every time I tell people about this they are like “Paul McCartney? Really?” It’s McCartney II, I just like bragging that I have The Lost Album, which is the same as II, but with all kinds of extra unreleased tracks. It sounds more along the lines of today’s Johnny Jewel, Chromatics. It is so playful and fun and just really inspiring to me.

11: There seem to be influences of philosophy as well, previously you had inserted excerpts from Alan Watts into your music, and on the Miracle Mile song titled “Khalil Gibran?”

JH: Well we were just sitting there writing the song, and there was this pile of books sitting there, and it just felt like “Hey I will call it this!” It’s a way to squeeze in exposure to something more meaningful than just pop music, but through pop music.

11: And calling the last album Reptilians had to do with the conspiracy theory?

JH: Totally.

11: As your other solo project, Sexton Blake, you knock out some amazing covers, doing renditions of ‘80s and ‘90s songs from artists such as The Dream Academy and Rod Stewart. You seem to have some fun with covers in Starfucker as well. Any ideas on songs to play with?

“IT’S A WAY TO SQUEEZE IN EXPOSURE TO SOMETHING MORE MEANINGFUL THAN JUST POP MUSIC, BUT THROUGH POP MUSIC.”


featuresnational scene

JH: There are a bunch of songs I want to do, There is a Sparks song called “When I’m With You,” some Tom Petty, and a Prince song that blows my mind. Oftentimes, though, I end up working more on writing my own stuff, including a little work on the classical piano here lately.

11: You have a history with playing classical piano?JH: I just like it. I mean, I never took lessons or anything

[laughs] but, you know.

11: Despite the name, your song “Rawnald Gregory Erickson the Second” became nationally televised as a catchy theme for a Target commercial. How did things change after that?

JH: Well all of that happened because of hard work, playing a lot, and word of mouth. Then we began touring all the time, like last year I didn’t have a house that I lived at because we toured so much. When it was just me, I didn’t expect it to last long. We didn’t expect it to be big; we expected to be goofy, to play a few house shows; I didn’t really expect to be touring, ever. It has just evolved since then, into our own definition of successful.

11: And last year, after all of the crazy touring, you decided to take a retreat to the Oregon coast?

JH: So, there is this haunted house in Astoria, overlooking the river, very beautiful. It was a good place to get away, far enough away from the city.

11: Did you go there with the intent of making new music, or did it just come out?

JH: I just wanted to get away for a while; I had been there before; it is my mom’s friend’s house and she let me use it for a month, which turned into two months. I knew I wanted to write some music. Then the guys in the band ended up coming to visit, and some other friends came up, friends from Radiation City.

11: Are you working with Radiation City?JH: I may be remixing some of their songs.

11: So what is different about the new album, Miracle Mile?

JH: Aside from being more collaborative, it’s kind of more diverse, and its longer, with 15 tracks.

11: With the apocalyptic titles of “While I’m Alive,” and “Leave it all Behind,” I almost wondered if the title had something to do with the 1988 movie Miracle Mile?

JH: Well, it’s a reference to a line in one of the songs on the album. [“Fortune’s Fool”]

11: What was the recording process like? JH: It was written and recorded between tours over the

period of maybe 6 months, but only a few weeks at a time because of shows and whatnot. First for a couple of weeks in Rockaway at Randy from Radiation City’s mom’s house, then more writing and recording at the house in Astoria, then we finally finished in San Luis Obispo at Patrick’s house. Also Keil, Patrick and I went to L.A. for a week to record the drums in a studio.

11: On previous albums you were pretty much the main force behind the creation of the songs, and then you would bring the other band members in to complete them?

JH: Nah, I just did everything on the previous albums. Before, it was pretty much a solo project–with a band. Now, it’s–we, are a band. On this album it was way more collaborative than it’s ever been. There was more co-writing, with other band members like Patrick [Morris] and then we fleshed it out together in the end.

“ON THIS ALBUM IT WAS WAY MORE COLLABORATIVE THAN IT’S

EVER BEEN.”


national scenefeatures

11: Speaking of Patrick, he is a new member who used to play for Strength. So you guys are a quartet now?

JH: We have gone through a couple of people that aren’t playing with us anymore. Right now it feels really good.

11: Are you all from Portland?JH: No, I’m the only one from Portland, but we all met here

and have lived here forever.

11: What do you guys have time for when you’re not touring or practicing?

JH: We don’t have much crossover, we all do different things. Sometimes we all play poker together, but we are all bad at it. If someone comes in to play with us they always win.

11: How do think the music community in Portland is special?

JH: I have realized Portland is just practical for music. This is an easy place to live, cheap. The houses have basements so you have a place to practice. Compared to when I lived in New York, you were in a shitty place where you can’t store anything, it is hard to move gear, no one has cars, and you have to rent practice space, so it’s more money. Portland is a really good starving artist town.

11: What are the plans for 2013 and beyond? JH: We have the Spring tour, I think maybe a European

tour after May, not sure yet. Other than that, I plan on not doing anything. »

Photo by Rachel Hubbard


film

WATCH ME NOW

It’s March already, a whole year since HBO graced us with the whimsical world of Westeros. Have you missed hating the Lanisters or had fleeting moments at work fantasizing about Jon Snow, dragons, or kicking Joffrey’s ass? Having answered ‘yes,’ you are most likely marking your calendars for March 31 and making arrangements as to where you will ring in the Song of Ice and Fire New Year, and who will be bringing the lemon cakes, ale, bacon pie and mead.

Wait, you don’t own A Feast of Ice and Fire: The Official Game of Thrones Companion Cookbook, are not completely obsessed with the medieval world created by George R.R. Martin and the show produced by HBO? Get thee to thy computer and torrent immediately, thou shalt be addicted! Better yet, run down to Powell’s and pick up the five books that started it all.

Called by some ‘The American Tolkien’ Martin has been writing his epic, A Song of Ice and Fire, since 1991, finally publishing the first in the series, A Game of Thrones, in 1996, to lukewarm reviews that would heat up as independent booksellers and fans pimped its successors. Written in a style much easier to digest than the high fantasy cadence of other prolific writers of the genre, Martin’s five published novels can’t be called trashy, but they are definitely more salacious, graphic, and pulpy than the refined Elven ways. Set in the medieval land of Westeros, the Iron Throne rules the Seven Kingdoms that were united by an ancient conqueror. Since the fall of the House Targaryen, the seven families that once ruled their own lands brew plots and schemes for usurping the Throne. Drama, drama, drama, sex, betrayal, lies, more sex... that’s the gist and with a page count (through book five) that tops 5,000, you’ll just have to delve for more detail.

HBO optioned the rights to

Martin’s novels in

2007,

FILM EDITORIALgame oF thrones, Yeah!


film

WATCH ME NOW upon mounting popularity for the series and public outcry for Martin to publish the books faster (a five year gap between the publishing dates can cause a lot of hate mail). The pilot for the series was produced in 2007, with George himself signed on to serve as consultant, closely monitoring the adaptation of story, shooting locale, and production design. Shortly after, the show was green-lit and made into a ten episode season.

Game of Thrones was a good fit for the cable channel which was known for the popular Sopranos (1999-2007) and the indulgent Rome (2005-2007), but had been steadily losing ground to competitor Showtime, which boasted Dexter, Homeland, and Weeds and had lessened the premium cable high horse that HBO claimed. Writer and Producer David Benioff was known to joke that an early working tagline for Game of Thrones was “The Sopranos in Middle Earth,” noting that the series’ intrigue-filled plot and macabre tone juxtaposed with the fanciful setting.

After the first season aired in 2011, the series was nominated for 13 Emmy’s, including Best Drama Series, and came away with two. Not since the early 2000’s Lord of the Rings mania has a work of high fantasy so intensely pervaded pop culture, inspiring more than just costumes at Comic Con: cookbooks, hundreds of speculation blogs hypothesizing what will happen in Martin’s volumes to come, and Youtube covers of the theme song to name a few. In part Peter Jackson’s Lord of the Rings trilogy was a precursor, assuring HBO execs that a series of this genre would reach beyond fans of the book. Yet, what is perhaps most telling of the show’s popularity was the crown of ‘Most Pirated Show of 2012’ by Forbes Magazine, and an SNL skit highlighting the more, ahem, sexually gratuitous nature of the series.

Geeking out over the costumes, sets,

and processes that go into

creating such a vivid alternate

reality are all that seems to be discussed over the water

cooler these days, and there will be ever more to discuss as we are treated to another 10 episodes of our favorite fantasy. Look forward to May 12 for the airing of the seventh episode, which was written by George R.R. Martin himself (it will be interesting to see if that episode has as much dirty sex as the others). Let’s cheers to Martin’s health and hope that he sticks it out to finish the two books he has promised. In the meantime, we’ll fly our nerd banners high as we wait with bated breath for winter to come. » - Bex Silver

COSMOS (1980)

ready for some real life psychedelic fantasy? author, astronomer, and philosopher carl sagan leads you on a intergalactic journey in this thirteen episode tV series originally aired in 1980. taking you on the starship imagination, carl guides you through his controversial insights into human life, religion, and evolution through gazing through galaxies.

BATTLESTAR GALACTICA (1978-1979, 2004-2009)

portlandia jokes aside, the cult of battlestar galactica runs deep. both the original 24 episode 1978 series, and the 2004, 4 season reboot are a guilty pleasure that has held pop culture relevance for decades. persecuted by hyper intelligent machines, the survivors of a human holocaust are forced to search the universe for a new planet to call home. It’s never to late to hop on this bandwagon. So say we all.

XENA, WARRIOR PRINCESS (1995-2000)

A campy, classic 90’s staple, Lucy Lawless roams the realm dispensing justice with a whip, righting wrongs to help her overcome her outlaw past. Xena and gal pal garielle inhabit a world of bizarre magic, legend and ore where there is ever a lesson to be learned and a beast to be tamed.

STAR TREK, THE ORIGINAL SERIES (1966-1969)

The interweb is currently on Star Trek overload. Both Netflix and Hulu are pimping the franchise, may as well bone up on the penultimate nerd conversation piece with the original 1966 series playing on hulu. leonard nimoy and william shatner will be quick to convince you of the necessity of spending some time aboard the enterprise.

Put your nerd hat on and make yourself comfortable, you’re going to be glued to the tube watching these throughly addicting series of the most fanciful sort. Warning: you may be temped to buy a ticket to Faerie Worlds or a Star Trek Convention. » - Bex Silver

Instant Queue ReviewInstant Queue Review


ELEVEN: Who are you?EATCHO: I’m pretty happy to say now, more and more, that I come

from Fresno. I keep seeing stuff from my home town that is going viral. Recently, there was that one hitchhiker, the hatchet hitchhiker. I was raised in a side part of Fresno, a more conservative area. Been here seven or I am going on my eighth year here. Portland is great. Recently caught on to the baby boom thing going on here. Still seems like it’s expanding: the cultural balloon. All the stuff that’s been going in Portland for the last three years, it’s pretty awesome. Portland has open arms for anyone who is willing to work for it.

11: You seem to be pretty diverse with your mediums. How do you determine which projects you are going to do next?

E: Can’t make up my mind. It looks like sometimes, I have no projects. Some projects are attempts to get my stuff out there and some are just to pick up some paying projects. Did a lot of commercial work this last year.

11: Oh yeah? For who?E: Doing a lot of story boarding. Here and there, I always try to work

in that part of the commercial field where it involves a lot of imagination. Whether it’s storyboards or design.

11: How do you get into storyboarding?E: You gotta know people, and you gotta ask. You gotta want to do it.

Storyboarding is a weird one, but it’s also very crucial to film. If you have any background in comics or zines, storyboarding is the simplest job doing exactly what you have been doing. And they are asking you to do that! What storyboarding is is making an idea visually cohesive. And you wouldn’t think it, but it is really hard. Recently I had to do a piece where it was just someone sneaking around the house to surprise someone from behind. And ah. It seems like it would be really simple, but when you really think about how you are going to draw. Without words.

11: Did they give you a particular number of frames you could use?E: In that one they didn’t, but I bet you they were counting. The more

frames, the more money. 11: What are some primary themes in your artwork?E:A lot of themes from my stuff would be emo and also a lot of things I

deal with being very hyper and anxious. It’s conveyed in the work.

11: Some of the environments, or at least the one I am thinking of with the billboard displaying “Manifest That,” seems to have a lot of toxicity going on around, and in, everyone.

E: That was a breakup piece. That’s an obvious breakup piece. Everyone does one every now and again. I like how you said, “toxic” because that’s totally how we deemed the end of the relationship. So I am glad I conveyed what needed to be conveyed there.

11: Your work includes many different characters in one piece; what determines their relationships?

E: Hmm. That’s good. A lot of the times there will be a conversation going on in the piece, so the piece will be a raw thing. I really like Where’s Waldo. Didn’t really get into it when I was a kid, but the works of Richard Scarry, when you’d come across a book with a lot of imagery and you’d have to go there. You have to see it. You have to get up to see a lot of stuff in it. I am seeing that as something that is becoming very common now in our art. I think, and I have said it a bunch of times now, I think it is because we are a TV generation. A generation really, that has been raised around a lot of buttons. A lot of little things. We are one of those first generations that kind of came out like that, and now you see as we are getting older a lot of the art is along the same vein. Where it’s a lot more hyper, a lot more to see, a lot more going on in the works. There’s more depth. It’s not just graphic elements anymore. Now we are painting with graphic elements. Instead of having just one key Campbell soup can, now there is a million of them, and they are all doing a bunch of different stuff. People aren’t just tripping on one graphic image anymore, now it’s all over the place. That’s kind of how we were raised, and the work I see is no different than waking up and going outside is how I see it. I do like when there is an overall theme. And you’ll see it when it bleeds through. You know like when I said, “that was a break up piece,” so you’re not going to see a bunch of flowers or happy stuff. No people bouncing around. You’re going to kind of see a bunch of toxic stuff; you’ll see what the person is feeling. So on and so forth. You’ll see a lot of characters getting pulled along by that same feeling.

11: Who are some of your reoccurring characters?E: It changes from year to year. This year you’ll see a lot of characters

with some part of the face being absent. I noticed a lot of things related to how I stick my foot in my mouth a lot. I’m hyper. I get hard on myself when I feel like I’ve done something wrong. So a lot of characters with things like having a tongue way too big for his mouth, then it has evolved into this character with no mouth at all. He is, “I’m not going to even say anything.” The mouth gets in the way. There was also a series where all there was was a mouth with no other senses really to express anything. Just talking. Which I do [laugh].

11: That’s good for an interview. E: Yeah. Yeah. There’s a skull – an image of death – that always

reminds me I am alive. A lot of dead stuff going on. I love that death presence in things. You’ll see it in a lot of different things, in a lot of different stories; the presence of death always kind of being there.

11: How do your pieces develop?E: Real sketchy at first. So many parts of me haven’t grown up since

I started. I’ve been drawing since I was like six. A lot of sketching and It’s still that way. Pencil and then all the other things, the alchemy of it. The chemistry of it all changes over time with the more I learn, different mediums and so forth. But it all starts with the bare bones: just a sketch. The themes and characters develop with all the different things going on in my life. Whatever ideas I have, whatever is on my mind, and the like, and it develops. Obviously I don’t do things like battle zombies.

11: You don’t?E: No I don’t. But it’s all things from life . » - Billy Dye

local

VISUAL ARTSPortland artist EATCHO

Photo by Mercy McNab


Photo by Josh Tillinghast

Photo by Jonny Flannery

Local bands on the radar

local

PDX PARAGONS

Mysteriously, “loud-guitar bands” are mostly eschewed by this city’s tastemakers nowadays. I’ve literally lost sleep theorizing about why this is the case, and all I can determine is that Portland, having been such a prime player in the early ‘90s alt boom, is tired of the racket. Sure, music connoisseurs here

are eager to claim bands like Pond and Dead Moon but the scene really has no interest in fostering new groups that play a similar type of music.

WL is a glorious exception. They’re a balls-to-the-wall guitar band that the in-crowd (as of now) gives a shit about. It’s sort of easy to see why: first of all, they have a female singer which, as much as I hate admitting it, is incontestably a huge selling point to people who don’t really care about music. Secondly, they embrace an ultra-hip aesthetic which similarly appeals to shallow people. But their 7” Impermanent is stellar from start to finish and evokes comparisons with seminal shoegaze groups like Slowdive and The Telescopes, in addition to Portland luminaries Heatmiser. All they need to do now is stay together. »

- Morgan Troper

WLmarch 12 | bunK bar

Built from the fiery ashes of Meriwether Lewis and William Clark, longtime buds Dustin Daniels and Matthew Ulm barely took a breather before picking up the pieces. They say three’s a charm and this holds truth twofold: (1) Old Age is Daniels and Ulm’s third band together and (2) adding multi-instrumentalist Michael Finn behind the kit makes three.

According to Ulm, the band’s name revealed itself in his sleep, even though the trio is far from moving to Florida and playing two rounds of golf a day. Daniels and Ulm’s friendship spans over a decade, and with time came musical growth and a change in influences. While in previous incarnations the pair

were boisterous and sang songs about specific topics, these days the songs are more editorial.

Their indie folk-pop sound features near-perfect melodies and breezy tracks. You know you’ve seen the band’s name around town alongside Portland faves like The We Shared Milk, Fanno Creek, and Talkative, so get out there and catch a show, and don’t forget buy the boys a round of the band’s official drink: Tom Collins. »

- Wendy Worzalla

OLD AGEmarch 15 | mississippi studios


local

4. WINE + ZINES

1. SUPER DIVE

2. MOVIE THEATER

3. SWEET INK

8. EATIN’ FROM SWEDEN

6. ISLAND GRINDS

10. MEGA-RAD PIES

5. COFFEE ZONE

9. LOCAL VIDEO RENTAL

7. VINYL SUPPLY

11. LATE DATE

The Press Club - 2621 SE Clinton Street

Dots - 2521 SE Clinton Street

Clinton Street Theater - 2522 SE Clinton Street

Oddball Tattoo - 2716 SE 21st Ave

K & F Coffee - 2706 SE 26th Ave

Noho’s Hawaiian Cafe - 2706 SE 26th Ave

Clinton St. Record & Stereo - 2510 SE Clinton

Broder Cafe - 2508 SE Clinton Street

Clinton St. Video - 2501 SE Clinton Street

Hammy’s Pizza - 2114 SE Clinton Street

Night Light - 2100 SE Clinton StreetBEST

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Location photos by Mercy McNab

eXTRACToAt Extracto Coffeehouse & Roastery each coffee is carefully selected, craft-roasted in small batches, and brewed with love by friendly people who are crazy passionate about your cup of goodness.

mAGiC CoRneR | ne poRTlAnD2921 NE Killingsworth | 503.281.17641465 NE Prescott, Ste B | 503.284.1380www.extractocoffeehouse.com

BeACon sounDCarrying a broad spectrum of new and used vinyl including classical, folk, soul, jazz, indie rock, psych, as well as an excellent selection of contemporary electronic music. They pay well for your used vinyl (cash or trade), host in-stores, and generally rule.

mAGiC CoRneR1465 NE Prescott (97211)503.360.1268 | beconsound.net

lounGe lizARDWe buy and sell

VINTAGE FURNITURE, LIGHTING as well as OTHER COOL CONTEM-

PORARY furniture and lighting. We strive to keep our prices affordable

and realistic for our local market. We love what we do!

se poRTlAnD1310 SE Hawthorne Blvd

503.232.7575 | twitter.com/loungelizardpdx

moloKoTaste the nightlife of Mississippi.Over 40 house infused liquors.Specialty absinthe cocktails.Open until 2am every day.

n poRTlAnD3967 N Mississippi (97227)503.288.6272 | molokopdx.com

BeeCH sTReeT pARloROffers a cozy environment, tasty drinks, nightly DJs, an amazing selection of beers, delicious food, a lovely porch, The New York Times... and allows minors until 9pm.Open Monday-Saturday, 5-LateHappy Hour 5-7pm

ne poRTlAnD412 NE Beech St (97212)503.946.8184 | beechstreetparlor.com

TenDeR loVinG empiReThe TLE shop houses handmade

gifts from Portland’s thriving DIY scene. It is also the record label

headquarters, a screen printing studio and art gallery—fostering

TLE’s love of art and music through community exchange and good ol’

conversation.

DownTown412 SW 10th Ave (97205)

503.243.5859 | tenderlovingempire.com

THe FiRKin TAVeRnLocated on the west side of Ladd’s,

the Firkin Tavern features an astounding selection of craft beers

to enjoy inside or on our patio. Art enthusiasts will enjoy a variety

of local artwork on display and sold comission-free!

se lADD’s1937 SE 11th Ave (97214)

503.206.7552 | thefirkintavern.com

pip’s oRiGinAlWe strive to provide an excellent product combined with a friendly and welcoming attitude and delivered in a warm and cozy space. Free high-speed WiFi, local artist’s displays and local live music are all part of our charm.

n poRTlAnD4759 NE Fremont (97213)503.206-8692

HoVeRCRAFT AmpsUnused, unloved music gear with

great potential, rebuilt into ICONS OF TONE. Available at Old Town Music

for a lot less than you’d think!Each amp is uniquely tailored with

components and cosmetics to make them very special. No two are alike!

se poRTlAnDhovercraftamps.com

[email protected]

HollYwooD THeATReA not-for-profit organization whose

mission is to entertain, inspire, educate and connect the commu-nity through the art of film while

preserving an historic Portland landmark.

ne HollYwooD4122 NE Sandy Blvd (97212)

503.493.1128 | hollywoodtheatre.org


THE LOCAL BIZlocal

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Eleven PDX March 2013

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